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Nils Kjellberg
Nils Kjellberg, The Sower, Antique Oil Painting

c. 1915

Price:$765.45
$850.50List Price

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George William Mote, Near Guildford, Surrey
By George William Mote
Located in Cheltenham, GB
This late 19th-century oil painting by British painter George William Mote (1832-1909) depicts a shepherd and his flock before an extensive view across the Surrey countryside near Gu...
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1880s Victorian Landscape Paintings

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Oil, Canvas

William Adolphus Knell (Attributed), Yachting In The Mediterranean
Located in Cheltenham, GB
This mid-19th-century oil painting attributed to British artist William Adolphus Knell (1805-1875) depicts a sailing yacht before a Mediterranean coastline. Knell was one of the lead...
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1860s Victorian Landscape Paintings

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Oil, Canvas

William Traies (Attributed), Wooded River Landscape With Cascade & Figures
Located in Cheltenham, GB
This charming mid-19th-century oil painting attributed to English artist William Traies (1789-1872) depicts a picturesque river view with cascade, figures and cattle. Traies was an a...
Category

1840s Victorian Landscape Paintings

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Oil, Canvas

Edward Williams (Circle), River Landscape With Thatched Cottage & Windmill
By Edward Williams
Located in Cheltenham, GB
This charming mid-19th-century oil painting depicts a river landscape with a thatched cottage, boatmen, and windmill. It’s reminiscent of works by English artist Edward Williams (178...
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1850s English School Landscape Paintings

Materials

Oil, Canvas

Edward William Cooke RA, West-Country Cove With Cottages, Family & Donkeys
By Edward William Cooke
Located in Cheltenham, GB
This idyllic late 19th-century oil painting by English artist Edward William Cooke RA (1811-1880) depicts a west-country cove with two cottages, donkeys, figures, and fishing boats. Cooke was a highly renowned painter of marine scenes and landscapes who exhibited extensively at London’s Royal Academy. From our elevated vantage point, the view extends between two quaint cottages and across the beach before sweeping around the sandy coastline. Crystalline waters lap the shore, where moored craft rest. It’s an accomplished rendering of a challenging composition. It’s enhanced by trees, which essentially ‘frame’ the right side, while a wooded track provides interest on the left. Cooke was a keen admirer of the Dutch old masters, and the spirit of the Golden Age underpins this splendid work. In diaries, he recorded how he travelled by donkey to access elevated spots in the southwest, so it’s conceivable that he did so here. In his catalogue raisonné, it lists a work from the same year titled ‘Bay with Donkeys’. Born in Pentonville, London, Cooke was raised in the company of accomplished artists as both his father, George Cooke (1781-1834), and his uncle, William Bernard Cooke (1778-1855), were engravers. As such, they were associated with a circle of Victorian painters who aided Cooke’s early development. These included the highly regarded marine painter Clarkson Frederick Stanfield RA RBA (1793-1867), who provided frequent advice and inspiration. Indeed, as a teenager, Cooke produced numerous drawings after Stanfield’s works. A precocious talent, by the age of nine, he was already displaying an advanced understanding of engraving, particularly for ships, coupled with a natural, seemingly in-built skill as a draughtsman. Many of his early drawings depict pastoral landscapes after the masters, such as Nicolaes Berchem (1620-1683), Paulus Potter (1625-1654), and Karel Dujardin (1626-1678). In an extraordinary turn of events, in 1820, his advanced abilities led to his first commission when he provided botanical illustrations for John Loudon's 'Encyclopaedia of Plants’. These were followed by drawings published in the 'Botanical Cabinet...
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1870s Victorian Landscape Paintings

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Edward Robert Smythe, Figures & Horses On A Beach With Buildings
By Edward Robert Smythe
Located in Cheltenham, GB
This late 19th-century oil painting by English artist Edward Robert Smythe (1810-1899) depicts a picturesque bay with buildings, fishing boats, figures and horses. Smythe was a maste...
Category

1880s English School Landscape Paintings

Materials

Canvas, Oil

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Pluie a Venice is painted in Hambourg's preferred palette of muted blue-green, grey, and gold with splashes of ruby red, deep blue, and emerald green. The soft colors work well for beach scenes and rainy days such as the ones portrayed in this painting. The impressionistic scene shows multiple pedestrians strolling down the boardwalk, shielding themselves from the rain with colorful umbrellas that provide pops of color and balance the overcast sky. The background contains a three-masted ship and Piazza San Marco's famous bell tower and Basilica. Hambourg uses the minimum number of brushstrokes necessary to portray ships, seagulls, buildings and people as well as reflections on the glistening sidewalk. The brushstrokes in the sky have an interesting texture that is controlled yet carefree and there is heavy impasto throughout. His portrayal is both realistic and romanticized. Hambourg was clearly influenced by the great Impressionist artists of earlier generations, perhaps none more than the one with a direct connection to his family. Hambourg's wife, Nicole Rachet, was born into a family with a large collection of works by Impressionist master Eugene Boudin. Rachet's grandfather was a contemporary and friend of Boudin's, and a collector of his work. In their later years, Hambourg and Rachet donated over 300 canvases by Boudin and other artists to the Eugene Boudin Museum in Honfleur, France. It was such a large and important gift that the collection bears...
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